Waterstreet, Margaret G. (American playwright, 1953-____), “Chained to My Fridge,”
a 60-minute comedy in English, set in an American kitchen with dining area, 1997 with flashbacks to the 1950s-1980s,
• © 1997 by Margaret G. Waterstreet, • script/rights available from Margaret G. Waterstreet, 1509 West Cornelia Avenue, Chicago, Illinois 60657-1305, U.S.A., telephone (home/work) 773.665.4726, e-mail _____. Cited by Margaret G. Waterstreet via postal mail, 1998; Waterstreet says,
§ Dramatis Personae Prometheus (f), 65, grandmother, and master dressmaker. She's frustrated at her titanic weight gain over the years from daily cycles of exercising and overeating. Extroverted, stubborn, clever manager of tyrants, scientist-like decision maker who values fairness above mercifulness. Sees trends; Gaea/Mortals (f), 45, Pro's mother in flashbacks of the 1950s, introverted lover of tradition and routine, someone who can’t rest until she’s finished every chore on her list, adores fashion magazines; doubles as Mortals; Pro's Daughter (f), 45, extroverted bohemian sculptor; Jupiter (m), 35, Pro’s husband in a 1970 flashback, introverted bisexual photographer, follows his passions, painfully honest, tyrant who needs to feel he’s a good guy.
§ Synopsis “Over 3 days, Pro describes her difficult but successful career. A 1955 bride, she sewed unpaid for her family. When Jupiter leaves them in 1970, for the sake of Mortals she steals a dresscutting job at half her male colleague’s salary. Currently, she earns 73% of what he makes. She comments on how as American women gained more and more career power since the ’50s, ‘the ideal woman’ weighed less and less—from size 16 Marilyn Monroe to now size 2 Helen Hunt. The media and industry forces her to cut out her fat every day (through painful diet/exercise). But every night, her fat grows back when she overeats. At close, she breaks her chains by accepting her large body. She starts her own business, merely walks daily, eats only when she’s hungry, and stops when she’s full.
§ Comment “Only you can break your chains. • Only one simple set: kitchen table, refrigerator door, dressmaking form. Successfully workshopped.”
§ Themes 1955, 1970, American women, bride, career, chain, commentary, desertion, diet, dresscutting, eating, exercise, exploitation, family, fat, force, hunger, ideal woman, industry, large body, media, metaphor, mortal, overeating, pain, pay equity, power, salary, satiety, sewing, start-up business, success, survival, theft, walk, weight.
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